At Rome the chief festival of Minerva, the Quinquatrus Majores, was held on the 19th of March, and was, in later times, extended to five days. It was especially observed by all engaged in intellectual pursuits, and by artists and artisans. As Minerva was also patroness of schools, the schoolboys also took part in the celebration, and enjoyed a welcome holiday.
Fig. 8.—Pallas Giustiniani. Vatican.
The virgin goddess was at all times a favourite subject with ancient art. Even in the earliest times, before casting in bronze or marble sculpture was known, while the images of the gods were as yet rudely carved in wood, Pallas was a frequent subject of delineation. These wooden images usually represented the goddess as standing upright with poised spear in front of the battle, and were then called Palladia. Men delighted to believe them to have fallen from heaven, and to be a sure means of protection against hostile attack. When Greek art was in its prime, the first masters vied with each other in the representation of the goddess. Phidias outdid them all in his renowned statue of Athene Parthenos, which stood in the temple on the Acropolis. The figure was 39 feet high, and was constructed of ivory and gold. Its majestic beauty naturally formed one of the chief attractions of the magnificent temple. It disappeared, without leaving any clue behind it, during the stormy period of the invasion of the nomadic tribes. In proceeding to give an account of the most important existing statues of the goddess, we must first mention a magnificent marble bust which King Ludwig I. of Bavaria procured for the Munich collection, and which was formerly in the Villa Albani, at Rome. The goddess here wears a tight-fitting helmet, the top of which is decorated with a serpent, the emblem of wisdom. Her breastplate, which is bordered with serpents, falls like a cape over her shoulders, and is fastened in the middle by the Gorgon’s head, a terrible but striking contrast to the pure and noble countenance of the goddess. A fine bust, with a delicate and youthful expression of countenance, is preserved in the Vatican Museum at Rome.
Another, not less beautiful, but with grave and almost masculine features, was discovered in the excavations of Pompeii, and is now in the Naples Museum.
Among existing (full-length) statues, the Pallas Giustiniani, of the Vatican Museum at Rome, is held to be the finest (Fig. 8). This probably once stood in a Roman temple, having been found in a place where there was formerly a temple of Minerva. This statue, in accordance with the Roman conception, bears a more peaceable character, although neither the spear nor helmet are wanting. Next come two statues found near Velletri, one of which is in the Capitoline Museum at Rome, whilst the other forms a chief ornament of the Louvre collection in Paris. Both represent the goddess in the character of a benign deity fostering all peaceful works, with a gentle but earnest expression of countenance.
Fig. 9.—Athene Polias. Villa Albani.
Fig. 10.—Pallas Athene. Naples.